Laura Aguilar (October 26, 1959 – April 25, 2018) was an American photographer. She was born with auditory dyslexia and attributes her start in photography to her brother who showed her how to develop in dark rooms.[1] She was mostly self-taught although she took some photography courses at East Los Angeles College where her second solo exhibition Laura Aguilar: Show and Tell was held.[2] She is well known for her portraits, mostly of herself and also focused upon people in marginalized communities including LGBT and Latino subjects and obese people.

Aguilar was active as a photographer from the 1980s on.[3] She was mainly self-taught, although she studied for a time at East Los Angeles Community College and participated in The Friends of Photography Workshop and Santa Fe Photographic Workshop.[4]

Aguilar worked primarily in the genre of portraiture. Her work centers on the human form[1] and challenges contemporary social constructs of beauty, focusing upon Latina lesbians, black people, and the obese.[5] According to critics, she often used self-portraiture to come to terms with her own body as she challenged societal norms of sexuality, class, gender, and race.[6][7] In her series Stillness (1996–99), Motion (1999) and Center (2001), she, according to critics, fused portraiture with the genres of landscape and still life.[1] Aguilar stated that her artistic goal was"to create photographic images that compassionately render the human experience, revealed through the lives of individuals in the lesbian/gay and/or persons of color communities."[8]

Nudes and Self Portraits Much of Aguilar's work is self-portraiture in the nude, these series include Stillness, Motion[17], Grounded,[18]Center[19] and Nature Self-Portraits[20]

Clothed/ Unclothed Series (1990-1994)[21] A series of diptychs depicting a range of subjects including people from LGBT, straight, latino and black communities. The first photograph shows the subjects clothed and the second unclothed.

In Sandy's Room 1989 is a self-portrait.[22] It shows Laura laying back in a chair in front of an open window.

Three Eagles Flying 1990 is a triptych.[23] At the center Aguilar is bound by rope with the Mexican flag around her head and the American flag around her hips. The panel on her left is a photo of the Mexican flag and on her right, is the American flag.

Latina Lesbian Series 1986-1990[24] is a series of black and white portraits of lesbian women mostly commissioned by Yolanda Retter sponsored by Connexxus,[25] underneath each portrait are handwritten notes from the women in the photos.

Plush Pony Series1992 is Aguilar's attempt to show all sides of the Latina Lesbian community. Aguilar set up in the East Los Angeles lesbian bar called The Plush Pony and took photographs of the patrons creating a series of black and white portraits of the lower working class community.[9][26]

Critics and scholars closely identify Aguilar's work with Chicana feminism; one writer observes that "Aguilar consciously moves away from the societally normative images of Chicana female bodies and disassociates them from male-centered nostalgia or idealizations."[27] Chon A. Noriega, director of the Chicano Studies Research Center at University of California, Los Angeles, notes that Aguilar is unusual for the way she "collaborates with subjects who are her peers so that her works is not about power differentials between photographer and subject as is often, if implicitly the case with ... the social documentary tradition itself."[28] Her more recent self-portraits, according to critics, navigate her personal intersection of identities as Latina, lesbian, dyslexic, and obese.[19] Her best known series is often considered to be Latina Lesbians, (1986–89)[1] which she started in order to help show a positive image of Latina lesbians for a mental health conference.[8] Other popular works include Clothed/Unclothed (1990–94), Plush Pony (1992), and Grounded (2006–07), with the latter being her first body of work done in color.[citation needed] Reviewer A. M. Rousseau notes: "[Aguilar] makes public what is most private. By this risky act she transgresses familiar images of representation of the human body and replaces stereotypes with images of self-definition. She reclaims her body for herself."[7]